How this ‘Hawkeye’ chase scene was filmed


Fans of “Hawkeye” marvel at a high-speed, adrenaline-fueled chase scene in Episode 3 of the Disney + Marvel series starring Jeremy Renner and Hailee Steinfeld.

The seven minute scene begins with Clint Barton / Hawkeye (Renner) and his prot̩g̩ Kate Bishop (Steinfeld) escaping from an abandoned warehouse, hijacking a car and then crossing the streets of Brooklyn towards the Manhattan Bridge with Kazi and the tracksuit mafia. in pursuit Рas Kate leans out of the car pulling her scoring lap until it all ends in an explosive confrontation of screeching tires on the bridge.

“Hawkeye” is set in New York City and is filmed primarily in Brooklyn, but parts of the chase scene were filmed in Atlanta, said episode directors Amber Finlayson and Katie Ellwood – known as Bert and Bertie. – at the Post.

“We spent so much time developing it and we decided early on that we wanted to do a lot of the practically car chase,” said Ellwood. “We shot part of the season in New York, where ‘Hawkeye’ is set, but we couldn’t physically go out on the streets. [for that scene]; we’re shooting on a set in Brooklyn, so we had to find streets that were less descriptive – and we were able to make the streets of Atlanta look a lot like Brooklyn when adorned with effects and post-production.

Photo showing a truck exploding in the air, engulfed in flames.
An exploding truck is only part of the breathtaking chase scene in Episode 3 of “Hawkeye”.

Ellwood said the directors’ priority, for dramatic purposes, was to keep the action focused on Barton and Kate to increase the high-stakes tension in the middle of the freewheeling action.

Hailee Steinfeld as Kate Bishop leaning out of the car's windshield and pointing her bow and arrows at the bad guys.
Kate Bishop (Hailee Steinfeld) takes aim at the bad guys in the high speed car chase.

“The most important thing was to keep the camera in the car with the characters, so that we could understand the jokes and what’s going on between them and reveal the action in an interesting way,” she said. . “We have this camera moving, so all of the action had to be choreographed to move at certain times and certain beats to meet the camera and not miss it. There is so much prep work to organize everything – making sure the truck arrives at the back of the car at the right time [and] the 180 degree turn of the handbrake should then occur.

“We did it for real and it was kind of like theater,” she said. “It was exciting for everyone and Jeremy and Hailee had loved it ever since [Jeremy] was able to drive the car. It took about five takes, and I think the take we used was maybe [one from] early enough – there was something about the dynamic between Barton and Bishop in that particular take that was so explosive and dynamic.

Photo showing Jeremy Renner as Clint / Hawkeye pointing his bow and arrows.  He has blood on his cheek.
Jeremy Renner as Clint Barton / Hawkeye in Episode 3.

The most dangerous moments, of course, were handled by the stuntmen, Finlayson said.

They were everywhere. “There was a lot going on and you couldn’t do that with actors. The handbrake turns – you have to touch the mark exactly, so there is a safety issue as well, even though Jeremy said, “Let me do it!” Later in the chase, when the car flipped the other way, we had stuntmen including a driver in the trunk of the car. He had a little driving gear in the trunk and he stuck his head out and was in disguise, and he was driving forward so it looked like they were driving backwards.

The climax of the scene on the Manhattan Bridge is seamless, thanks to the wonders of modern technology and skillful editing.

“We would have liked to do it for real. It was on a huge blue set, but the driving on set was real, ”said Ellwood. “We had some of the best stuntmen in the business. When the car accelerates and skids at a perfect 90 degree angle to that little girl in the car on the bridge, they did it for real – not with the little girl in the car, but it’s a drive and a precision landing… at a skill level it’s amazing.

“It was like a puzzle,” Finlayson said, “replacing pieces of animated preview with things we shot so we could see them come together and adjust accordingly.”


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